THE CRUELTY OF BURMESE MILITARY REGIME IN SYLVESTER STALLONE’S RAMBO IV (2008): THE CRUELTY OF BURMESE MILITARY REGIME IN SYLVESTER STALLONE’S RAMBO IV (2008): A MARXIST APPROACH.
THE CRUELTY OF BURMESE MILITARY REGIME IN
SYLVESTER STALLONE’S RAMBO IV (2008):
A MARXIST APPROACH
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirement
for Getting Bachelor Degree of Education
in English Department
by:
IRMA FAHRIANI
A 320 070 273
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2011
i
APPROVAL
THE CRUELTY OF BURMESE MILITARY REGIME IN
SYLVESTER STALLONE’S RAMBO IV (2008):
A MARXIST APPROACH
Written by
IRMA FAHRIANI
A 320 070 273
Approved to be Examined by the Consultant Team
Consultant I
Consultant II
(Dr. Phil. Dewi Candraningrum, S. Pd. M. Ed.)
ii
(Titis Setyabudi, S. S. M. Hum.)
ACCEPTANCE
THE CRUELTY OF BURMESE MILITARY REGIME IN
SYLVESTER STALLONE’S RAMBO IV (2008):
A MARXIST APPROACH
by
IRMA FAHRIANI
A 320070273
Accepted and Approved by the Board of Examiner
School of Teacher Training and Education
Muhammadiayah University of Surakarta
On July, 2011
Team of Examiner:
1. Dr. Phil. Dewi Candraningrum, S. Pd. M. Ed.
(Chair Person)
(
)
2. Titis Setyabudi, S. S. M. Hum.
(
)
(
)
(Member I)
3. Drs. Abdillah Nugroho, M. Hum.
(Member II)
Dean
Drs. Sofyan Anif, M. Si.
NIK. 547
iii
TESTIMONY
Herewith, I testify that in this research paper, there is no plagiarism of the
previous literary work which has been conducted in obtaining bachelor degree of
university, and also there are no masterpieces which have been written or published
by others, except those in writing are referred in the manuscript and mentioned in the
literature review and bibliography.
Hence, later, if it is proven that there are some untrue statements in this
testimony, I will be fully responsible
Surakarta, July 2011
IRMA FAHRIANI
A320070273
iv
MOTTO
“Verily, with every difficulty there is a relief” (AlInsyirah: 5)
“If Allah helps you, so, there is no one who is able to
defeat you, and if Allah abandons you, so, who will help
you except Allah? Only to God you will trust. (Ali
„Imran: 3: 160)”
“Never put off until tomorrow what you can do today”
(Writer)
“Yesterday is a history, Today is a gift and Tomorrow is
a mystery” (Writer)
v
DEDICATION
This research paper is proudly
and truthfully dedicated to:
My beloved Ibu and Bapak
My lovely Family
My Husband will be
Mz Ari’s Family
My dearest friend
vi
ACKNOWLEDGEMENT
Assalamu’alaikum Wr. Wb.
Thank to Allah SWT, the most Gracious, the most Merciful, the writer finally
finished this research paper to fulfill the requirement for getting Bachelor Degree.
Praise and invocation also goes to our Great Messenger, Muhammad SAW, whom we
always hope his intercession in the end of the world.
The writer would like to express her deepest gratitude for the people who have
helped her in getting through this research paper by their support, advice and even
criticism. They are:
1. Drs. H. Sofyan Anif, M.Si, Dean of School of Teacher Training and
Education.
2. Titis Setyabudi. S. S. M. Hum, as Head of English Department.
3.
Anam Sutopo, S. Pd. M. Hum as the Academic Advisor.
4. Dr. Phil. Dewi Candraningrum, S. Pd. M.Ed, as the first consultant,
who has guided and adviced patiently during the arrangement this research
paper.
5. Titis Setyabudi, S. S. M. Hum, as the second consultant who has guided
me in correcting the research writing.
6. Drs. Abdillah Nugroho, M. Hum. as the third of examiner.
vii
7. Her beloved Ibu and Bapak, thanks for their loves, attention, motivation
and pray in finishing this research paper, she will do her best. Thanks for
everything, it is more than words.
8. Her Beloved sisters Mb.Ely, Mb.Ririn and Nanda and brothers
Mz.Ervin, Mz.Ian and Rizal who always pray and have given spirit.
9. Her husband will be _Mz Ari Susanta_ who always gives his love,
attention, protection and his all sacrifices to the writer.
10. Mz Ari’s Family, for welcoming her as a part of the family.
11. Her dearest friends, “I-pooh, Ayumi, ham_ham, nEtha, Mpok,
Nyak, Mb.Leny, Mb.Ana” thank you for our friendship and support.
12. All of her friends “Ratna, Ayu’, Aya’, Vita, Ucrit and groups of
Thel_Oo (Sathy, pHiona, pRiyan, Tante)”, and those cannot
mention one by one which have supported her in doing this research.
Finally the researcher would like to express her thanks to all those have
helped the researcher in completing this research paper. The researcher thinks this
research paper might be far from being perfect, therefore, the researcher happily
accepts constructive suggestion in order to make this research paper more complete.
Wassalamu’alaikum Wr. Wb.
Surakarta, July 2011
The writer
viii
SUMMARY
IRMA FAHRIANI, A 320 070 273, THE CRUELTY OF BURMESE
MILITARY REGIME IN SYLVESTER STALLONE’S RAMBO IV (2008): A
MARXIST APPROACH, RESEACRH PAPER, MUHAMMADIYAH
UNIVERSITY OF SURAKARTA, 2011.
This study is about cruelty in Rambo IV movie (2008). This objective of the
study is to apply the marxist approach to analyze the cruelty in stallone’s Rambo IV.
The writer uses Rambo’s major point of Marxist to answer the problem of the
study. The study is descriptive qualitative research that the data are taken from script
of Rambo IV. The technique of the collecting data is library research, while the
technique of analyzing data is descriptive.
Having analyzed this movie, the writer draws the results of the study. First,
based on the structural analysis the director successfully delivers the moral message
through the excellent unity of structural element. The director wants to say that
everyone in the world has the similar right. The movie reflects the oppression.
Second, based on the Marxist analysis human has different view, their views are
based on dialectical materialism, historical materialism, alienation, class struggle and
revolution. Rambo’s struggle is meaningful when he has a good action to show his
power to get the peace.
First consultant
Second consultant
(Dr. Phil. Dewi Candraningrum, S. Pd. M. Ed.)
NIK. 772
(Titis Setyabudi, S. S. M. Hum.)
NIK. 948
The Dean of School of Teacher
Training and Education
(Drs. Sofyan Anif, M. Si.)
NIK. 547
ix
TABLE OF CONTENT
TITLE .............................................................................................................
i
APPROVAL ...................................................................................................
ii
ACCEPTANCE ..............................................................................................
iii
TESTIMONY .................................................................................................
iv
MOTTO ..........................................................................................................
v
DEDICATION ................................................................................................
vi
ACKNOWLEDGMENT ...............................................................................
vii
SUMMARY ....................................................................................................
ix
TABLE OF CONTENT .................................................................................
x
TABLE OF FIGURE……………………………………………………….
xv
CHAPTER I: INTRODUCTION .................................................................
1
A. Background of the Study.........................................................................
1
B. Literature Review ....................................................................................
4
C. Problem Statement ..................................................................................
4
D. Objective of the Study.............................................................................
4
E. Limitation of the Study ...........................................................................
5
F. Benefit of the Study ................................................................................
5
G. Research Method .....................................................................................
5
1. Type of the Study ...............................................................................
5
x
2. Objective of the Study ........................................................................
5
3. Type of the Data and the Data Source ................................................
6
4. Technique of the Data Collection .......................................................
6
5. Technique of the Data analysis ...........................................................
6
H. Paper Organization ..................................................................................
7
CHAPTER II: UNDERLYING THEORY ..................................................
8
A. Notion of Marxist Approach ...................................................................
8
B. The Major Principles of Marxist theory ..................................................
9
1. Dialectical Materialism …………………………………………….
9
2. Historical Materialism ………………………………………………
10
3. Alienation …………………………………………………………..
11
4. Class Struggle ………………………………………………………
11
5. Revolution ………………………………………………………….
13
C. Structural Element of Movie ...................................................................
13
1. Narrative Element of Movie ...............................................................
13
a. Character and Characterization .......................................................
13
b. Setting ..............................................................................................
15
c. Plot ...................................................................................................
16
d. Point of view ....................................................................................
16
e. Theme ..............................................................................................
17
f. Casting .............................................................................................
17
xi
2. Technical Element of Movie ..............................................................
18
a. Mise-en-Scene ..................................................................................
18
1) Setting .........................................................................................
18
2) Costume and Make-Up ...............................................................
19
3) Lighting ………………………………………… ......................
19
4) Set Dressing and Props ...............................................................
19
b. Cinematography...............................................................................
20
c. Editing…………………………………………………………….
21
d. Sounds…………………………………………………………….
22
D. Theoretical Application ...........................................................................
23
CHAPTER III: THE HISTORICAL BACKGROUND OF MYANMAR
SOCIETY IN THE NINETEENH CENTURY UP TO THE
EARLY TWENTY FIRST
CENTURY……………………………………………......
24
1. Sociological Background………………………………………………
24
A. Social Aspect……………………………………………………….
24
B. Economic Aspect………………………………….. ........................
27
C. Political Aspect……………………………………………………..
31
D. Science and Technology Aspect……………………………….…...
34
E. Cultural Aspect…………………………………………………….. .
36
F. Religious Aspect……………………………………………………
39
2. The Life of Sylvester Stallone…………………………………………..
42
xii
CHAPTER IV: STRUCTURAL ANALYSIS ..............................................
47
A. Structural Elements .................................................................................
47
1. Narrative Elements .............................................................................
47
a. Character and Characterization .......................................................
47
b. Setting ..............................................................................................
54
c. Plot ...................................................................................................
56
d. Point of View ...................................................................................
59
e. Theme ..............................................................................................
60
f. Casting …………………………………………………………….
60
2. Technical Elements.............................................................................
61
a. Mise-en-Scene ..................................................................................
62
1) Setting .........................................................................................
62
2) Lighting .......................................................................................
63
3) Costume and Make-Up ………………………………………..... 67
4) Set Dressing and Props ...............................................................
68
b. Cinematography...............................................................................
70
c. Editing…………………………………………………………….
73
d. Sounds ……………………………………………………………
76
B. Discussion ..............................................................................................
76
CHAPTER V: MARXIST ANALYSIS ........................................................
79
A. Marxist Aspect ........................................................................................
79
1. Dialectical Materialism.......................................................................
79
xiii
2. Historical Materialism ........................................................................
81
3. Alienation ...........................................................................................
84
4. Class Struggle .....................................................................................
85
5. Revolution ..........................................................................................
87
B. Discussion ...............................................................................................
88
CHAPTER VI: CONCLUSION AND SUGGESTION ..............................
91
A. Conclusion ..............................................................................................
91
B. Suggestion ..............................................................................................
92
BIBLIOGRAPHY
VIRTUAL REFERENCE
Synopsis of Rambo IV movie
APPENDIX
xiv
TABLE OF FIGURE
Page
Fig. 1.
John Rambo ..........................................................................................
48
Fig. 2.
Sarah Miller ..........................................................................................
49
Fig. 3.
Michael Burnett ....................................................................................
51
Fig. 4.
School boy ............................................................................................
52
Fig. 5.
Lewis ....................................................................................................
52
Fig. 6.
Reese.....................................................................................................
53
Fig. 7.
Snake Attraction
...............................................................................
55
Fig.8.
Klaw Kbe Lo Village ............................................................................
55
Fig. 9.
S.P.D.C Light Infantry Battalion 360 ...................................................
56
Fig. 10.
Point of view relates on the eyes of Rambo. ........................................
59
Fig. 11.
The point of view of the perspective ....................................................
60
Fig. 12.
Rambo and the missionaries on the way use boat in day light. It
occurs in hard lighting. .........................................................................
Fig. 13.
64
Rambo and the missionaries on the way use boat in the night. It
occurs in the soft lighting. ....................................................................
64
Fig. 14.
The picture occurs of the frontal lighting. ...........................................
65
Fig. 15.
The picture occurs of the side lighting. ................................................
65
Fig. 16.
The picture occurs of the back lighting. ...............................................
66
Fig. 17.
The picture occurs of the under lighting. ..............................................
66
Fig. 18.
The picture occurs of the top light ........................................................
67
xv
Fig. 19.
The picture occurs of the source. ..........................................................
67
Fig. 20.
Formal Costume ...................................................................................
69
Fig.21.
Non Formal Costume ..........................................................................
69
Fig. 22.
Up to Date .............................................................................................
69
Fig. 23.
Out of Date ...........................................................................................
69
Fig. 24.
Props that use in village ........................................................................
70
Fig. 25.
Props that use in river ...........................................................................
70
Fig. 26.
The picture of normal light. ..................................................................
71
Fig. 27.
Straight Angle .......................................................................................
72
Fig. 28.
High Angle ...........................................................................................
72
Fig. 29.
Low Angle ............................................................................................
72
Fig. 30.
Extreme Long Shot ...............................................................................
72
Fig. 31.
Long Shot .............................................................................................
72
Fig. 32.
Medium Long Shot ...............................................................................
72
Fig. 33.
Medium Shot ........................................................................................
72
Fig. 34.
Medium Close-Up ................................................................................
73
Fig. 35.
Close-Up ...............................................................................................
73
Fig. 36.
Extreme Close-Up ................................................................................
73
Fig. 37.
Axis of Action ......................................................................................
74
Fig. 38.
Establishing Shot ..................................................................................
74
Fig. 39.
A Reserve Shot .....................................................................................
75
Fig. 40.
Reestablishing shot ...............................................................................
75
xvi
Fig. 41.
Match and action ..................................................................................
75
Fig. 42.
Cross cutting .........................................................................................
76
xvii
APPENDIX
SYLVESTER STALLONE’S RAMBO IV (2008):
A MARXIST APPROACH
RESEARCH PAPER
Submitted as a Partial Fulfillment of the Requirement
for Getting Bachelor Degree of Education
in English Department
by:
IRMA FAHRIANI
A 320 070 273
SCHOOL OF TEACHER TRAINING AND EDUCATION
MUHAMMADIYAH UNIVERSITY OF SURAKARTA
2011
i
APPROVAL
THE CRUELTY OF BURMESE MILITARY REGIME IN
SYLVESTER STALLONE’S RAMBO IV (2008):
A MARXIST APPROACH
Written by
IRMA FAHRIANI
A 320 070 273
Approved to be Examined by the Consultant Team
Consultant I
Consultant II
(Dr. Phil. Dewi Candraningrum, S. Pd. M. Ed.)
ii
(Titis Setyabudi, S. S. M. Hum.)
ACCEPTANCE
THE CRUELTY OF BURMESE MILITARY REGIME IN
SYLVESTER STALLONE’S RAMBO IV (2008):
A MARXIST APPROACH
by
IRMA FAHRIANI
A 320070273
Accepted and Approved by the Board of Examiner
School of Teacher Training and Education
Muhammadiayah University of Surakarta
On July, 2011
Team of Examiner:
1. Dr. Phil. Dewi Candraningrum, S. Pd. M. Ed.
(Chair Person)
(
)
2. Titis Setyabudi, S. S. M. Hum.
(
)
(
)
(Member I)
3. Drs. Abdillah Nugroho, M. Hum.
(Member II)
Dean
Drs. Sofyan Anif, M. Si.
NIK. 547
iii
TESTIMONY
Herewith, I testify that in this research paper, there is no plagiarism of the
previous literary work which has been conducted in obtaining bachelor degree of
university, and also there are no masterpieces which have been written or published
by others, except those in writing are referred in the manuscript and mentioned in the
literature review and bibliography.
Hence, later, if it is proven that there are some untrue statements in this
testimony, I will be fully responsible
Surakarta, July 2011
IRMA FAHRIANI
A320070273
iv
MOTTO
“Verily, with every difficulty there is a relief” (AlInsyirah: 5)
“If Allah helps you, so, there is no one who is able to
defeat you, and if Allah abandons you, so, who will help
you except Allah? Only to God you will trust. (Ali
„Imran: 3: 160)”
“Never put off until tomorrow what you can do today”
(Writer)
“Yesterday is a history, Today is a gift and Tomorrow is
a mystery” (Writer)
v
DEDICATION
This research paper is proudly
and truthfully dedicated to:
My beloved Ibu and Bapak
My lovely Family
My Husband will be
Mz Ari’s Family
My dearest friend
vi
ACKNOWLEDGEMENT
Assalamu’alaikum Wr. Wb.
Thank to Allah SWT, the most Gracious, the most Merciful, the writer finally
finished this research paper to fulfill the requirement for getting Bachelor Degree.
Praise and invocation also goes to our Great Messenger, Muhammad SAW, whom we
always hope his intercession in the end of the world.
The writer would like to express her deepest gratitude for the people who have
helped her in getting through this research paper by their support, advice and even
criticism. They are:
1. Drs. H. Sofyan Anif, M.Si, Dean of School of Teacher Training and
Education.
2. Titis Setyabudi. S. S. M. Hum, as Head of English Department.
3.
Anam Sutopo, S. Pd. M. Hum as the Academic Advisor.
4. Dr. Phil. Dewi Candraningrum, S. Pd. M.Ed, as the first consultant,
who has guided and adviced patiently during the arrangement this research
paper.
5. Titis Setyabudi, S. S. M. Hum, as the second consultant who has guided
me in correcting the research writing.
6. Drs. Abdillah Nugroho, M. Hum. as the third of examiner.
vii
7. Her beloved Ibu and Bapak, thanks for their loves, attention, motivation
and pray in finishing this research paper, she will do her best. Thanks for
everything, it is more than words.
8. Her Beloved sisters Mb.Ely, Mb.Ririn and Nanda and brothers
Mz.Ervin, Mz.Ian and Rizal who always pray and have given spirit.
9. Her husband will be _Mz Ari Susanta_ who always gives his love,
attention, protection and his all sacrifices to the writer.
10. Mz Ari’s Family, for welcoming her as a part of the family.
11. Her dearest friends, “I-pooh, Ayumi, ham_ham, nEtha, Mpok,
Nyak, Mb.Leny, Mb.Ana” thank you for our friendship and support.
12. All of her friends “Ratna, Ayu’, Aya’, Vita, Ucrit and groups of
Thel_Oo (Sathy, pHiona, pRiyan, Tante)”, and those cannot
mention one by one which have supported her in doing this research.
Finally the researcher would like to express her thanks to all those have
helped the researcher in completing this research paper. The researcher thinks this
research paper might be far from being perfect, therefore, the researcher happily
accepts constructive suggestion in order to make this research paper more complete.
Wassalamu’alaikum Wr. Wb.
Surakarta, July 2011
The writer
viii
SUMMARY
IRMA FAHRIANI, A 320 070 273, THE CRUELTY OF BURMESE
MILITARY REGIME IN SYLVESTER STALLONE’S RAMBO IV (2008): A
MARXIST APPROACH, RESEACRH PAPER, MUHAMMADIYAH
UNIVERSITY OF SURAKARTA, 2011.
This study is about cruelty in Rambo IV movie (2008). This objective of the
study is to apply the marxist approach to analyze the cruelty in stallone’s Rambo IV.
The writer uses Rambo’s major point of Marxist to answer the problem of the
study. The study is descriptive qualitative research that the data are taken from script
of Rambo IV. The technique of the collecting data is library research, while the
technique of analyzing data is descriptive.
Having analyzed this movie, the writer draws the results of the study. First,
based on the structural analysis the director successfully delivers the moral message
through the excellent unity of structural element. The director wants to say that
everyone in the world has the similar right. The movie reflects the oppression.
Second, based on the Marxist analysis human has different view, their views are
based on dialectical materialism, historical materialism, alienation, class struggle and
revolution. Rambo’s struggle is meaningful when he has a good action to show his
power to get the peace.
First consultant
Second consultant
(Dr. Phil. Dewi Candraningrum, S. Pd. M. Ed.)
NIK. 772
(Titis Setyabudi, S. S. M. Hum.)
NIK. 948
The Dean of School of Teacher
Training and Education
(Drs. Sofyan Anif, M. Si.)
NIK. 547
ix
TABLE OF CONTENT
TITLE .............................................................................................................
i
APPROVAL ...................................................................................................
ii
ACCEPTANCE ..............................................................................................
iii
TESTIMONY .................................................................................................
iv
MOTTO ..........................................................................................................
v
DEDICATION ................................................................................................
vi
ACKNOWLEDGMENT ...............................................................................
vii
SUMMARY ....................................................................................................
ix
TABLE OF CONTENT .................................................................................
x
TABLE OF FIGURE……………………………………………………….
xv
CHAPTER I: INTRODUCTION .................................................................
1
A. Background of the Study.........................................................................
1
B. Literature Review ....................................................................................
4
C. Problem Statement ..................................................................................
4
D. Objective of the Study.............................................................................
4
E. Limitation of the Study ...........................................................................
5
F. Benefit of the Study ................................................................................
5
G. Research Method .....................................................................................
5
1. Type of the Study ...............................................................................
5
x
2. Objective of the Study ........................................................................
5
3. Type of the Data and the Data Source ................................................
6
4. Technique of the Data Collection .......................................................
6
5. Technique of the Data analysis ...........................................................
6
H. Paper Organization ..................................................................................
7
CHAPTER II: UNDERLYING THEORY ..................................................
8
A. Notion of Marxist Approach ...................................................................
8
B. The Major Principles of Marxist theory ..................................................
9
1. Dialectical Materialism …………………………………………….
9
2. Historical Materialism ………………………………………………
10
3. Alienation …………………………………………………………..
11
4. Class Struggle ………………………………………………………
11
5. Revolution ………………………………………………………….
13
C. Structural Element of Movie ...................................................................
13
1. Narrative Element of Movie ...............................................................
13
a. Character and Characterization .......................................................
13
b. Setting ..............................................................................................
15
c. Plot ...................................................................................................
16
d. Point of view ....................................................................................
16
e. Theme ..............................................................................................
17
f. Casting .............................................................................................
17
xi
2. Technical Element of Movie ..............................................................
18
a. Mise-en-Scene ..................................................................................
18
1) Setting .........................................................................................
18
2) Costume and Make-Up ...............................................................
19
3) Lighting ………………………………………… ......................
19
4) Set Dressing and Props ...............................................................
19
b. Cinematography...............................................................................
20
c. Editing…………………………………………………………….
21
d. Sounds…………………………………………………………….
22
D. Theoretical Application ...........................................................................
23
CHAPTER III: THE HISTORICAL BACKGROUND OF MYANMAR
SOCIETY IN THE NINETEENH CENTURY UP TO THE
EARLY TWENTY FIRST
CENTURY……………………………………………......
24
1. Sociological Background………………………………………………
24
A. Social Aspect……………………………………………………….
24
B. Economic Aspect………………………………….. ........................
27
C. Political Aspect……………………………………………………..
31
D. Science and Technology Aspect……………………………….…...
34
E. Cultural Aspect…………………………………………………….. .
36
F. Religious Aspect……………………………………………………
39
2. The Life of Sylvester Stallone…………………………………………..
42
xii
CHAPTER IV: STRUCTURAL ANALYSIS ..............................................
47
A. Structural Elements .................................................................................
47
1. Narrative Elements .............................................................................
47
a. Character and Characterization .......................................................
47
b. Setting ..............................................................................................
54
c. Plot ...................................................................................................
56
d. Point of View ...................................................................................
59
e. Theme ..............................................................................................
60
f. Casting …………………………………………………………….
60
2. Technical Elements.............................................................................
61
a. Mise-en-Scene ..................................................................................
62
1) Setting .........................................................................................
62
2) Lighting .......................................................................................
63
3) Costume and Make-Up ………………………………………..... 67
4) Set Dressing and Props ...............................................................
68
b. Cinematography...............................................................................
70
c. Editing…………………………………………………………….
73
d. Sounds ……………………………………………………………
76
B. Discussion ..............................................................................................
76
CHAPTER V: MARXIST ANALYSIS ........................................................
79
A. Marxist Aspect ........................................................................................
79
1. Dialectical Materialism.......................................................................
79
xiii
2. Historical Materialism ........................................................................
81
3. Alienation ...........................................................................................
84
4. Class Struggle .....................................................................................
85
5. Revolution ..........................................................................................
87
B. Discussion ...............................................................................................
88
CHAPTER VI: CONCLUSION AND SUGGESTION ..............................
91
A. Conclusion ..............................................................................................
91
B. Suggestion ..............................................................................................
92
BIBLIOGRAPHY
VIRTUAL REFERENCE
Synopsis of Rambo IV movie
APPENDIX
xiv
TABLE OF FIGURE
Page
Fig. 1.
John Rambo ..........................................................................................
48
Fig. 2.
Sarah Miller ..........................................................................................
49
Fig. 3.
Michael Burnett ....................................................................................
51
Fig. 4.
School boy ............................................................................................
52
Fig. 5.
Lewis ....................................................................................................
52
Fig. 6.
Reese.....................................................................................................
53
Fig. 7.
Snake Attraction
...............................................................................
55
Fig.8.
Klaw Kbe Lo Village ............................................................................
55
Fig. 9.
S.P.D.C Light Infantry Battalion 360 ...................................................
56
Fig. 10.
Point of view relates on the eyes of Rambo. ........................................
59
Fig. 11.
The point of view of the perspective ....................................................
60
Fig. 12.
Rambo and the missionaries on the way use boat in day light. It
occurs in hard lighting. .........................................................................
Fig. 13.
64
Rambo and the missionaries on the way use boat in the night. It
occurs in the soft lighting. ....................................................................
64
Fig. 14.
The picture occurs of the frontal lighting. ...........................................
65
Fig. 15.
The picture occurs of the side lighting. ................................................
65
Fig. 16.
The picture occurs of the back lighting. ...............................................
66
Fig. 17.
The picture occurs of the under lighting. ..............................................
66
Fig. 18.
The picture occurs of the top light ........................................................
67
xv
Fig. 19.
The picture occurs of the source. ..........................................................
67
Fig. 20.
Formal Costume ...................................................................................
69
Fig.21.
Non Formal Costume ..........................................................................
69
Fig. 22.
Up to Date .............................................................................................
69
Fig. 23.
Out of Date ...........................................................................................
69
Fig. 24.
Props that use in village ........................................................................
70
Fig. 25.
Props that use in river ...........................................................................
70
Fig. 26.
The picture of normal light. ..................................................................
71
Fig. 27.
Straight Angle .......................................................................................
72
Fig. 28.
High Angle ...........................................................................................
72
Fig. 29.
Low Angle ............................................................................................
72
Fig. 30.
Extreme Long Shot ...............................................................................
72
Fig. 31.
Long Shot .............................................................................................
72
Fig. 32.
Medium Long Shot ...............................................................................
72
Fig. 33.
Medium Shot ........................................................................................
72
Fig. 34.
Medium Close-Up ................................................................................
73
Fig. 35.
Close-Up ...............................................................................................
73
Fig. 36.
Extreme Close-Up ................................................................................
73
Fig. 37.
Axis of Action ......................................................................................
74
Fig. 38.
Establishing Shot ..................................................................................
74
Fig. 39.
A Reserve Shot .....................................................................................
75
Fig. 40.
Reestablishing shot ...............................................................................
75
xvi
Fig. 41.
Match and action ..................................................................................
75
Fig. 42.
Cross cutting .........................................................................................
76
xvii
APPENDIX